Vocal Range

Supported Range

Voice Type

Strengths/Achievements

Has shown a very good steady and consistent improvement from debut until 2013/2014

Has come back from her vocal regression in 2015 to a much better vocal condition in 2018

Has generally an agile voice with adequate pitch accuracy at times

Can support her voice down to F#3’s and G3’s with a forward projection

One of the lowest ranges for female vocalists in K-pop

Was consistently able to produce resonant notes in her mix, up until Eb5/E5 and F5 at times in 2013/2014

Has been able to hit, although not sustain, supported F#5’s

Generally good with pitch, control and support in her supported range

Has been able to show musicianship and change songs around in different performances

Resonance is produced consistently

Good placement is kept outside her supported range

Points for Improvement

Although she has an agile voice, her runs can often be miscalculated and not precise enough

Generally airy tone in her voice, both in her falsetto and lower to mid range

The airiness seems not to be controlled and may often create a raspy quality that irritates the vocal cords

Her support below F#3 tends to go away and her notes become quite muffled and airy

Although resonance has been produced up to F5, her consistency in support goes up only to about Eb5/E5

She has yet to extend her range in her mix anywhere above F#5 even after her improvements

Issues with vowels Aye (애), Eu (으) and Oh (오) can carry tension to notes even within her supported range

Nasality may be present occasionally in her voice

At times may close her throat when sustaining higher notes

Very airy falsetto that often sounds thin and unsupported, inconsistent with producing a head voice

At times her upper mixed notes can come accompanied by a tense tongue which causes a tighter sound than desired

Has shown a lot of regression in 2015/2016 in terms of vocal health and technique

Registers

Lower register: Although able to maintain a stable larynx at times down to E3, her support and placement lose focus around F#3, where below her voice becomes cloudy and unclear and below E3 very airy. Support is kept on F#3’s and above, however, with a very good forward placement.

Mixed Register: huge improvement in this aspect, Hyolyn has been able to produce countless supported and resonant notes from the range of A4 ~ F#5. However so, she still lacks the stamina and consistency in support to keep every single F5 stable and relaxed. In 2013/2014 she had shown great consistency in resonance up until E5, with F5’s coming on and off with resonance or becoming strained. However lost such consistency in 2015/2016.

Upper Register: Most of the time she sings with a falsetto, rather than a true head voice, which causes her voice to become thin and small in projection, often sounding throaty and raspy, without connection and becoming unstable above G#5. At times able to produce a fuller and truer tone in head voice, but very rarely.

Agility

One of the most agile voices amongst K-pop vocalists, Hyolyn possesses a very light and bright voice that seems to linger towards ornamentations and lend itself to embellishing her vocal performances. Her voice is able to not only be quick, but also separate and create a smooth connection between every single pitch and accurately hit each and every note in her best vocal runs. However so, Hyolyn also tends to many times throw vocal runs around without really taking the time to make sure every single note lands correctly, having a very agile voice but with the lack of control and attention to detail when it comes to fully creating a clean series of ornamentations within her vocal performances. This is shown when at times, her run descending from the F#5 in “Show Me How You Burlesque” can come out clean and land correctly and at other times, will sound sloppy and without direction. Even so, she still has the ability to bounce through her notes and quickly fall back into them, showing good breath control overall. Recently this problem seems to persist as it’s consistently heard in her performances of Dally, with the run that follows the E5 belt in the song’s bridge. Notes are thrown away in a disorganized fashion, without caring to separate each given pitch and the idea isn’t cleanly executed.

Overall Analysis

One of the most famous female K-pop vocalists who’s not only famous for her group activities but also individually as a powerful vocals and vocal performances. Hyolyn’s instrument is one of the lightest and purest amongst her peers. Her voice is very light, girly and bright, with a very pretty tone quality that at times can be soft and sexy, or at others powerful and present. Her voice sits high where a Soprano voice would sit and still retains a youthful quality, most likely close to the Light Lyric fach. Not only does she possess one of largest shown vocal ranges amongst K-pop vocalists, she also has shown improvement and consistent care to become a better musician, performer and vocalist.

One of her strongest assets is her developed lower range, which is one of the rarest things amongst pop vocalists in general. She retains a very womanly and present full sound in her lower register when she starts on F#3 and above, showing a stable larynx, forward mask and chest placements, projection and support. She is also able to still maintain a certain amount of tone and color even when she descends to F3’s and E3’s, although the placement and projection are generally lost. Her E3’s are also inconsistent in tone production and lose cord connection at times, example including the recent performance of “슬픈인연” where at times her E3’s would be present and at others they’d vanish into an airy tone. Notes below E3 then become fairly airy and unclear. Even then, Hyolyn also is able to extend her lower range down to C3, which for a Soprano of any kind is a feat on its own and is quite difficult to do. Nevertheless without the proper support, range alone isn’t enough on its own. Generally though, as long as Hyolyn stays above F#3, her lower range is projected and present, as seen from her performances of “Listen” and “Halo“.

Hyolyn is able to support her voice and project much lower than is expected of a Soprano, showing an impressive amount of skill in her lower range. That skill isn’t lost as she ascends into her upper mixed range where her Soprano voices naturally sits and shines the most, though. From her pre-debut days, Hyolyn was always able to show consistent amount of breath support and control on her C5’s and below, having shown an understanding of placement and resonance even then. As she debuted, she was able to often support and produce resonant notes from the A4 range to the C5 range and at times even up to D5, where her consistency would lack and her throat would often close and she would rather shout than truly show support in her mix. In earlier performances, such as when Sistar came out with “가식걸”, she would often use her throat and strain her Eb5’s even in studio.

As the years went by, however, Hyolyn has shown that technique is not only important but it helps a lot. She had since made a huge progress in her approach when using her mixed voice, more so than in any other register. She has learned to eliminated nasality, which was at times more prominent in her singing, as well as learning how to better support and relax her voice so that she could properly execute higher notes. When back in the day, on Immortal Song, Hyolyn’s F5’s from “그때그사람” would be completely hit using her throat, she has gone on promotion cycles with her solo debut hitting numerous resonant F5’s in her performances of “너밖에몰라 (One Way Love)”. Hyolyn’s mix not only got more stable, it also got more balanced and forward, with a more neutral larynx and proper support. Though the consistency of tone was kept and the support was good up until Eb5, at times she had shown the tendency to close her throat on sustained belts or use her throat still on F5’s, as seen in her Immortal Song performance of “첫인상“, where some F5’s would come out resonant and some would be throaty and strained.

In 2015 Hyolyn had shown inconsistencies in her mix and throatiness had been present even as low as D5 and Eb5. Even though good placement was kept up to Eb5/E5 at times, throatiness and glottal tension were too present above D5/Eb5 and she generally strains above Eb5, which shows some past bad habits seemed to be creeping back in. After what seemed to be even more of a downfall in her technique, Hyolyn had shown that her vocal approach has reverted back to her earlier debut days as a member of SISTAR. Perhaps due to a hectic schedule, bad health habits and whatnot, Hyolyn had reverted back to relying very heavily on using her throat as opposed to relying on support in her mixed voice. Whereas in the past resonance was consistent up to E5, around 2015/2016 Hyolyn struggled to keep her throat relaxed even around B4/C5. In that range support was kept, but there’s an underlying throatiness and airiness that follows her throughout her range. It seemed that her instrument had been damaged and was yet to recover. On King of Mask Singer, Hyolyn was able to show that with a lighter approach she was still able to produce consistent resonance up to Bb4, such as in “장마” but even within the same performance, she would revert back to using her throat when trying to sing with more chest in her mix even within the Bb4/B4 range. Above C5 she tended to yell higher notes, as heard in her C#5’s in “장마“, D5’s in “미안해요” and “널사랑하겠어“, Eb5’s in “Ma Boy“, E5’s in “Tell Me Tell Me” and “Touch My Body“, and F5’s in “너밖에몰라 (One Way Love)“.

However in 2018, around February Hyolyn shared on her instagram a video of her recording her song 내일할래 in the US, getting tips from her producer who also works as a vocal coach, who not only helped her get back on track with her mixing technique but also finally explore her head voice. Her mixed voice in 2018 has since shown massive improvement from the past. She’s gotten back to mixing with a much healthier, brighter and more connected mix that projects more effortlessly without pushing from her throat. Her supported range has since become more consistent up to Eb5/E5, as heard in these compilations of her Dally E5’s, and multiple Eb5’s throughout 2018. One issue that persists is that although support and placement are kept, a degree of pushing can still be heard in her mix. This isn’t much of an issue when phrasing, but when sustaining notes on more closed vowels, she tends to lose support and become throaty still even within her supported range. Vowels like Ah (아) and Eo (어) project quite well, while vowels like Eu (으), Oh (오) and Aye (애) get caught in her throat. Examples of this include the D5’s with the Aye vowel in “Let it Go,” as well as some C5’s in “안녕.” Above E5, she still seems unable to keep her throat from closing up and the sound remains closed with strain, as heard in the F5’s in this compilation and this one. Although support is at times carried on phrased notes, tension still seems to overpower her support.

Her weakest register and what kept her from improving further was her falsetto register. As opposed to staying in her modal register and using her head voice, due to perhaps stylistic choices, Hyolyn generally used a very airy and throaty falsetto, which creates a raspy sound to her voice. Even though it can work stylistically, she lacked the ability to show the fullness of tone she needed for certain songs. For songs such as her solo “Lonely”, the breathiness plays a huge part in sounding vulnerable, but in songs such as “Halo” or “Have Yourself A Merry Little Christmas“, the tone should be stronger and more well placed with proper cord connection, which Hyolyn didn’t show the ability to do. Oftentimes regardless of where she is in her falsetto register, she would create a raspy airy sound which didn’t project as well, seen in her E5’s, F5’s, F#5’s, G5’s and even higher, where her throat then closes and creates a weaker sounding voice when reaching higher into the 6th octave.

In 2018, however, she has shown for the first time a much more consistent use of her head voice and has learned to fully connect her vocal cords to produce a supported head voice. Around February in performances of “내일할래“, stylistically an airier sound, Hyolyn started showing signs of connecting her vocal cords better and producing a head voice. From then on, she’s shown more and more instances of this in “내일할래“, as well as in other songs such as “Love Like This“, as well as in multipleperformances of Dally. The issue lies in where her support starts, ends and where her consistency lies. The degrees of connection from one performance to the other are quite inconsistent, many notes being slightly airier, while some are more connected. When more connected up to G5, there’s a degree of pushing as well, so the support is also yet to be consistently developed. Nonetheless from having no head voice ever shown, to being able to connect at all is very commendable improvement and one can expect she will only get better and better from her on.

Musically speaking, Hyolyn shows a certain degree of understanding of music. She can dynamically change her voice to adhere to every genre she chooses to sing, even though at times the throatiness may happen, she shows the ability to produce a rockier edge sound and at other times an agile R&B voice. She has the support to dynamically explore songs to the fullest, such as in “귀로” where her voice gradually grows with the intensity of the song. The one thing about it is that she still could support her voice more and create a soft yet supported sound when her dynamics are quieter, as opposed to a breathy raspy sound, being able to develop more versatility in her musical choices and approaches to interpreting songs.

Regardless of her flaws, however, Hyolyn has always been one of the top K-pop idol vocalists, improving immensely with time and being able to outsing many of her peers. With an extensive lower range in support and a consistent ability to keep resonance up into her highest range, Hyolyn is not only a powerful vocalist but also an overall skilled performance, entertainer, artist and dancer. She only shows improvements and at her young age, one can only expect that she will continue to improve as she ages, given the seriousness she’s shown in taking care of her instrument and her craft. Perhaps for the future, things to work on would be learning how to properly connect the vocal cords to ease the raspiness and irritation caused by the breathy vocals on her vocal cords. With 2018 being a great year for her in terms of improvement, the future seems bright ahead for Hyolyn’s vocal technique and career.

Musicianship

Throughout the years, this is another area where Hyolyn has also shown care and courage to take risks. Her intonation is often a very desirable one, but just like her vocal runs that can at times come out wrong and uncontrolled, Hyolyn’s vocal improvisations and changes aren’t always 100% spot on. Although she tries to add her own character to songs, she has yet to be fully confident in her melodic choices. Even then, she’s able to create interesting changes in songs, such as in more recent performances of “Halo” and “Ma Boy”, where the changes in arrangement allow for Hyolyn to play more with the song rhythmically and melodically, a skill Hyolyn’s been developing and is only getting better with time. Even more recently, when being free to sing an acoustic broken down cover of “Some” with Jooyoung, Hyolyn was able to showcase a completely different vocal delivery from the original, showing her development in musicianship. The rest is just more practice and confidence, because she has a very attentive ear to keep her intonation on point.

Hello, what do you think about Hyolyns Sketchbook Performance from today ? It honestly feels like she has improved. Especially on the high notes – She sound less throaty and actually way more like the 2012-2014 Hyolyn than the 2015/16/17 Hyolyn.. or am I hearing things ?
Here is the performance

A general little analysis would be super nice, but I want to highlight some parts :

02:57 – 03:01 : The belted F5. What do you think about it ? Honestly .. I think her F5’s sound way better now. 2015-2017 they usually sounded super throaty and raspy, but now.. she seems to have way more ease again and the quality of the voice actually reminds me of her „One Way Love“ – it‘s still not supported though, right ? If not.. is it still safe to say that she is on a good way and improved again ?

What about the „Boy I like this way“ parts ? ( 00:59 – 01:01 & 02:04 – 02:07 ) okay – the „Boy“ F5s were super short, but what about the „way“ Eb5 ? Is it very strained ? It actually sounds pretty nice in my opinion. I don‘t know if she already supports this high again, but there is definitely a lot more ease and less throatiness going on in my opinion

And the last highlight would maybe be the „Give me all your love … you and I~“ part at 02:41 – 02:50. I think she did really well. Especially the last C#5 in the „I~“ part sounds really good in my opinion

– What do you think about Hyolyns current level ? Any improvement ? In my opinion her „Lonely“ D5 in 2017 was still so throaty and raspy. Now even her F5‘s sound way better than her D5‘s one year ago – or am I seeing things ? Have an amazing day 🙂

It’s not very open, but the placement is good as far as I can hear it. The bass is very late, but the overall quality isn’t too distorted at least for the placement. I just can’t hear the quality of the openness and the throat shape too clearly.

2:53 I’d say it’s definitely a head voice, definitely connected but the quality is distorted so to call it supported may be difficult. I wanna say it is, but I hear something odd which just might be from her putting the mic too close to her mouth on the note. 2:36 The E5 was very well placed, I’d say it carried some tension and support at the same. Had it been sustained longer, maybe more tension would carry through but I think it was a well executed note overall.

Sorry i think theres a problem with twitter i link u a perf of her to do list but twt shows you the first video in the thread and i cant find other to do list vid except for this https://www.youtube.com/watch?v=Y9oiSF7hBuM&feature=youtu.be so ill just gonna ask her highnote at 0:14 and her headvoice at 0:17 thank you

0:14 D5, the vowel is bringing tension to the note so it’s more pushed and closed than it needs to be especially for the note it is. 0:17 A bit of rasp but it’s a head voice and it’s connected. The D5 still carries support though. 0:36 sustained notes on Oh vowels give her tension she doesn’t need and close her throat a bit, but the D5 phrased was supported and so was the C5. 0:39 I’d say the Eb5 and F5 were also executed well, but the F5 had pushing to it. I’m optimistic about her!

Since two people asked about Hyorin with different links, I’ll make it into one post since they’re both asking about her performances and probably would both like to know.

3:38 Eb5 on a tight Oo vowel, she dropped support almost completely on the note. 3:39 G5 with head voice, very well focused and placed but slightly tight and pushed. 3:52 very nice Bb4, resonant. 3:53 I don’t know if it’s the quality of the audio or the Aye vowel, but I’m hearing tension and pushing on the Eb5. 4:22 Eb5, F5 and G5. No F#5 in here. They are all connected and supported head voices, although she pushes a bit with her throat as she sustains them at times. the Eb5 were nicely supported, the F5 had support and the G5 got only slightly tight.

Let’s see if this is up to par with the more recent one. 2:57 unfortunate vowel shapes, the Oh really closes her off more than she needs closed off. 3:02 The F5 is tight, too tight to be considered a supported note. She closed her throat a lot more than necessary for that note. The Eb5 is a passing note and it carried some tension with support. 3:20 sustained Eb6, it’s sort of an exclamation but it’s a lot more opened than she was before.

1:56 Actually to alter her analysis I am more concerned and worried about her supporting consistently up to Eb5/E5, as that’s what I’ve been optimistic about lately. So I’m not too concerned about her F5’s, since this one is also more tense and throaty than it is supported.

2:56 F5, much more throat and pushing than support. I wouldn’t call this a supported note at all.

2:20 There’s a LOT of pushing on this note, it’s brighter than the F5’s cause it’s not sustained but it’s much more in the throat. 2:36 another F#5 here, very throaty. Her throat closes a lot more above E5 it seems.

Since two people asked about Hyorin with different links, I’ll make it into one post since they’re both asking about her performances and probably would both like to know.

3:38 Eb5 on a tight Oo vowel, she dropped support almost completely on the note. 3:39 G5 with head voice, very well focused and placed but slightly tight and pushed. 3:52 very nice Bb4, resonant. 3:53 I don’t know if it’s the quality of the audio or the Aye vowel, but I’m hearing tension and pushing on the Eb5. 4:22 Eb5, F5 and G5. No F#5 in here. They are all connected and supported head voices, although she pushes a bit with her throat as she sustains them at times. the Eb5 were nicely supported, the F5 had support and the G5 got only slightly tight.

Let’s see if this is up to par with the more recent one. 2:57 unfortunate vowel shapes, the Oh really closes her off more than she needs closed off. 3:02 The F5 is tight, too tight to be considered a supported note. She closed her throat a lot more than necessary for that note. The Eb5 is a passing note and it carried some tension with support. 3:20 sustained Eb6, it’s sort of an exclamation but it’s a lot more opened than she was before.

1:56 Actually to alter her analysis I am more concerned and worried about her supporting consistently up to Eb5/E5, as that’s what I’ve been optimistic about lately. So I’m not too concerned about her F5’s, since this one is also more tense and throaty than it is supported.

2:56 F5, much more throat and pushing than support. I wouldn’t call this a supported note at all.

2:20 There’s a LOT of pushing on this note, it’s brighter than the F5’s cause it’s not sustained but it’s much more in the throat. 2:36 another F#5 here, very throaty. Her throat closes a lot more above E5 it seems.

Since you’ve been posting questions a lot lately about Hyorin and you’ve been so kind to compile the questions into one comment and provide videos with time stamps, I’d like to ask you for a favor. Would you mind finding me examples of Hyorin mixing around C#5 ~ E5 this year, also head voice, to add more information to her analysis and update it? I want to make sure if her range up to E5 is consistent, so I need examples for consistency, I suppose 10 for each note would suffice. Not 10 performances for each note, but 10 examples of each note over a spread out time period of this year would be good. Would that be possible? You can add a bit of lower range just to make sure she’s still got it and if it’s consistent, I’ll add a new paragraph to her analysis and adjust her supported range and labels accordingly. Different vowels would help too.

Hello let me try my best compile her high notes i think there are less than 8 live perfs of dally because she used to lip sync her dally perf before she went to YHY so ill try my best to compile it (and add some E5s that i dont know if its supported) same with her head voice ill try to compile it but dont worry ill put the name of perfs, date and time stamp, there’s also a channel in YT that uploads compilation of Hyolyn’s 2018 vocal so ill try to seek some help.

Hello someone already made a compilations of Dally High notes https://www.youtube.com/watch?v=-wkjAJymbrs, i cant really help you with the C5-eb5(and lownotes) since i dont know how to identify notes but she also did
Hyolyn’s Vocal May 2018

Hyolyn’s Vocal May/June 2018

for the headvoice (you can also listen to the beginning of To do list i think she hit there low notes)

Thank you so so much for your help! I’ve used the videos, edited the analysis, added the links and deleted incorrect information. If you spot anything you feel I should fix, let me know! Thank you so much for your help and yay Hyorin!

You’re welcome and i thought i did spot some minor error like the one you said she had been working with a new vocal coach from the US, but then i rechecked her ig and the girl is also a vocal coach aside from being a composer/producer , i hope Hyolyn will use more of her headvoice so she will be consistent on it, this is like probably the first time she hit G5 in headvoice.

Hi Ahmin!
Thanks always for your useful analyses: I love them and find them so useful!

I just wanted to ask if you have heard this performance of Dally by Hyolyn?

During that riff, she does this thing with her tongue to help her get the riff out.
I’ve personally never seen anybody sing a riff like that (shaping the notes with the tongue) and was wondering if this was actually common among singers?

I don’t think it sounds bad but it did catch my attention because it sounded so different/weird. Could I hear your quick opinion on it?

Hello dear! Well theoretically in singing anything but the vocal cords shouldn’t move. In other words, for runs especially, only the vocal cords need to move in order to execute a run well. So the tongue or jaw should play no role at all and if they do, something is wrong.

because youve said ” around February Hyorin shared on her instagram that she had been working with a new vocal coach from the US,” she actually went to US and visited maria zouroudis for her song To Do List, she just gave Hyolyn some on the spot vocal warm ups/lessons

”The issue lies in where her support starts, ends and where her consistency lies. The degrees of connection from one performance to the other are quite inconsistent, many notes being slightly airier, while some are more connected. When more connected up to G5, there’s a degree of pushing as well, so the support is also yet to be consistently developed. ”

This footage isn’t new and some of it is already mentioned within the analysis. You can tell by her reaction at 3:34 that she is not quite very happy with the execution of her head voice, sot hat should give you an idea of how the support and development of those notes are. It’s not that she’s not executing a head voice, nor that she is not using support with it. She is carrying support and using head voice, but her muscles are not developed in these examples. They’re very falsetto-like, and they lack the full connection to be considered a supported head voice.

Hello i just noticed there are singers out there who have the ease on belting above F#5 but Hyolyn on the other hand never belt any note above G5 except for the one G5 that is recorded, does that make them better singer than Hyolyn??

Oh! I never realized this was updated in 2018! 🙂 It’s hard ’cause I can’t seem to find out when an analysis is updated, I can only see when an entirely new thing is posted. Are there other analysis that have had updates recently? And is there a way to be notified of updates, or do I just kind of have to find it, haha

What Eb5? There’s like a REALLY quick passing Eb5, but the sustained notes are D5’s, the highest being the F5. She goes 널 사랑하겠어 (D5) Wo-oh-ho, which was F5 Eb5 D5, but Eb5 was never a highlighted note. The F5 is strained, the D5’s carry support but the vowel is closing her throat more than she needs to.

0:57 D5/Eb5 Sounds supported but it could’ve been more relaxed. 3:02 D5 really nice open placement. 2:51 C#5 she wasn’t breathing well, the note lost focus and support. 3:02 Hyorin hasn’t supported F5 in a long time, especially this song. This performance is no exception. 2:38 E5 supported, a bit sharp. She has to fix that run after that E5 in this song. 2:46 Very nicely supported D5’s.

I doubt she will fix that run during dally. The fact she sometimes can support that E5 is already enough I’d say. Do that choreo with that energy plus singing live and support the high notes. Sis is already doing a lot.
But is the run in the recorder version good?
Also what is wrong with that F5 during see sea? Didn’t sound that bad.

1. Is she becoming less agile with her voice recently? Or is just that *one* run from Dally that she can’t seem to pin down? Hopefully she isn’t at risk of losing her melismatic vocalist label

2. Is her technique 100% recovered from her regression? The analysis says she recovered significantly from her 2015 regression, but has she gone back to her level of skill before the regression or is she still a bit worse than before then?

Hello guys,
I want to ask if you can help me for a project.
This project is a vocal battle about Taeyeon nd Hyolyn for this year and I want to know if you can help me for Taeyeon best note nd Hyolyn if u can but more Taeyeon pls.
Thx u 😊

I’m really sorry that I couldn’t respond earlier. I saw that you did finish the video, so good job with that. I think the note choices were generally nice, some for Hyorin’s where the vowels were closed could’ve perhaps been better but for Taeyeon, I think it was nice. Generally it was good for both.

Compared to recently? It’s not that different, when she phrases it’s actually really not bad at all but when she sustains there’s a lot of tension that creeps in.
3:05 Very nice E5, very very well placed and relaxed. 1:53 You meant this F5? It’s definitely better than her sustained ones. 2:05 like this one, this one does carry less tension than others I’ve heard but she is pushing so much more on sustained ones like this. 4:23 E5? It was pretty nice. 4:29 Nice D5’s too, very relaxed and well placed.

1:53 she hit F5? im actually referring to the C#5(?) on the “you and i~~~” part and you said Hyolyn’s F5s has a lot of tension, i want to know how to hear if there is a tension(glottal , tongue and jaw) ?? i can only hear the sound is squeezed a little but i cant hear the tension

Oh I initially wrote that I couldn’t answer since you didn’t link me F5’s but then I heard them. I guess you had not actually intended to link me F5’s anyway. Lol Try singing while imitating Kermit the frog and stitch and you’ll start feeling and hearing the quality of glottal tension to different degrees.

Hi! I want to ask about mixed voice related to hyorin. From what I know, mixed voice is like combining head voice and chest voice together and I heard from many vocal instructions videos that in order to find a mixed voice we should practicing singing from chest voice up to head voice and reverse in order to find the between part which is mixed voice.
Hyorin has never produced head voice or really weak head voice during her time in Sistar and predebut, how could she develop mixed voice in that case?
Also, does mixed happen naturally when we try to sing higher? Or do we have to practice it?
Thanks

1. Hyolin possessing a developed mixed voice (MV) despite having weak head voice/falsetto is actually comparable Chen from Exo. Both of their upper register is mostly a disconnected falsetto, and that is usually because of undertrained and underdeveloped cricothyroid (CT) muscle, which is one of the two main muscles in the vocal cord along with thyroarytenoid muscle (TA) responsible for chest voice. CT muscles are used in producing head voice, but if left untrained or underdeveloped, they never fully connect and vocal cords don’t close. This leads to air leaking through the vocal cords and hence falsetto production. Since mixed voice is using both TA and CT muscles, it is possible to have developed mixed voice despite weak CT muscle development.

2. Our voices automatically go into MV above passaggio, which are notes where the voice “flips” into a different mode. For sopranos like Hyolin, their MV starts from F#4 since it the soprano passaggio. For lyric tenors like Chen, D4/Eb4 is where they would start MV.

Just to add onto what Ron said. Some people speak purely in chest voice, some in falsetto, some in mixed. That affects how you sing. Some people naturally go into mixed voice, some others keep pulling chest voice up. So not everyone can find it naturally. Also it’s possible to sing in mixed voice below your first passaggio.

The 2:49 C#5 could’ve been more opened. 2:59 F5 is quite shouty. 2:26 Eb5, do you mean 2:28? Cause the phrased notes are D5’s and there’s only one Eb5 which was on Ah and it was more opened than the D5’s and quite nicely placed. 2:50 Again same thing, the Eb5 is at 2:52. 2:55 The F5 was tighter than usual. She usually does okay on this F5, but she closed her throat more than she would normally specifically in this one. 2:36 Could’ve been more opened, vowel wise. 2:43 Nice, relaxed. 2:52 Yes, it’s a head voice, still being developed. You don’t have to ask questions about Hyorin every time she has a new performance, only if you hear personally something different and you want to check if there’s a change in her technique. Otherwise it’s just the same thing over and over.

also regarding to the comment above it says “CT muscles are used in producing head voice” is it safe to say that hyolyn’s CT muscles now are developed since she can already produce headvoice? Thank You

“The 2:49 C#5 could’ve been more opened. 2:59 F5 is quite shouty. 2:26 Eb5, do you mean 2:28? Cause the phrased notes are D5’s and there’s only one Eb5 which was on Ah and it was more opened than the D5’s and quite nicely placed. 2:50 Again same thing, the Eb5 is at 2:52. 2:55 The F5 was tighter than usual. She usually does okay on this F5, but she closed her throat more than she would normally specifically in this one. 2:36 Could’ve been more opened, vowel wise. 2:43 Nice, relaxed. 2:52 Yes, it’s a head voice, still being developed. You don’t have to ask questions about Hyorin every time she has a new performance, only if you hear personally something different and you want to check if there’s a change in her technique. Otherwise it’s just the same thing over and over.”

As for your first video 1:00 Only on 좋 was she singing in head voice, the F5. The rest sounded like a really heady mix. So like I said, unless you think there’s something new, there’s no need to post videos every time there is a new performance. It’s safe to say her CT muscles are more developed but fully developed is a bit too soon.

hello is it okay to abt Hyolyn now? she had her con last nighthttps://www.youtube.com/watch?v=3sHifbprJBQ F5 on 12:23, Eb5 on 12:25
may i ask what note it is on 33:49 and 33:51 it dropped support because of close vowels right?? , E5 on 45:03, F5 on 51:38
E5 on 56:01, 56:06 did she hit supported E5 here just like her previous perf?
1:15:44 F#5 strained??
Thank you 😀

I wonder now Hyorin seem to become Good ranking vocalist again, so between Shannon and Hyorin (Haeri to be extend) who is better about technique? and Hyorin now vs Hyorin (2013-2014) is better or worse since she got better upper range, less throatiness? sorry if this annoy you ^^